{^Yourself or Someone Like You} turned out to be the standard-bearer for post-alternative rock because it has a '90s sheen in its production, but, for all the world, its core sounds like classic rock. Lead singer/songwriter {$Rob Thomas} adopted some of {$Eddie Vedder}'s vocal mannerisms, but they were smoothed out, lacking the angst and pain that were {$Vedder}'s hallmark. {$Matchbox Twenty} functioned much the same way, picking up at {$Pearl Jam}'s fascination for album rock, but deciding to stick to the classic blueprint instead of personalizing it. All of this resulted in a record that is much more straightforward than most alt-rock albums, even if it follows the pattern of a classic '90s album -- not just in its production dynamics, but down to the acoustic-based slow number that closes the record. It blends the most familiar elements of the two golden eras of album-oriented rock, finding a balance that is comfortable for mainstream fans of either side. Other bands with similar sounds that could have done the same thing, yet {$Matchbox Twenty} distanced themselves from the pack with sturdy songs and fairly strong hooks, all delivered forcefully with {$Thomas}' distinctive bravado. Their music is not flashy, nor is it as ingratiating as {$Third Eye Blind}'s pop instincts. It is, however, solid, American rock, reminiscent of a blend of {$Petty} and {$Pearl Jam}. So, it shouldn't have been surprising when the album found a wide audience. For many observers it was still unexpected, because the sound seemed a little plain. What they didn't realize was that {^Yourself or Someone Like You} wound up being the point where mainstream American rock stopped being willfully eccentric and returned to being unassuming and kind of ordinary. ~ Stephen Thomas Erlewine, All Music Guide